5 weeks ! No much shooting this week. I still go out once a day to keep my sanity, but the repetition kills the creativity (if there was ever any).
The cocks and hens are also wandering in our park (fort Canning), but it seems as if they also feel that something is amiss and retreat in the trees (I learned a few years back in Eater Island that chickens like to fly and rest on trees, I am a city boy, I would have never guessed,…)
Marina Bay Sands viewed from the grounds or our condo displays its love for the country, but the 1 North Bridge Road building hides the middle pillar of MBS and the letter … guess.
We had a nice walk along the river Saturday when the light was going down and the sky and river were beautiful (if it was not for the crowd of joggers and cyclists on the walking path).
My wife noticed that the Fullerton hotel was for once only displaying the national flag, is it national pride or just the lack of foreign customers?
The last two shots in the CDB show how nice the light was on the office buildings and how a lens build around World War II can perform nowadays (even if back focusing).
All shots with Leitz Summitar 50mm F2.0 on Leica M262.
We are entering the rainy season in Singapore now, and film rolls are not easy to finish. So the roll of Kodak Ultramax 400 I loaded in the Leica M4 took a little time to finish. Particularly with a F4 lens and less light, not all opportunities are good,
I very rarely shot the Ultramax before, it is a quite cheap film you can still buy in supermarkets in France. My friend Felix, gave me a roll last time I met him, and he get a quantity of them for the same reason.
The Leica M4 has no meter so I used my new Sekonic handheld light meter. All in it is doing quite a good job.
The Ultramax end up being quite a different beast compare to the Portra 400. The grain is more accentuated, the colors get a bit more pink / green hue, the film I got from the lab was a bit more curly, but I am not sure it affected the scanning (with Epson v800).
The 21mm gave good results again, thanks to the viewfinder again I think. The vertical shots of cross roads gave what I called “dynamic” in my last post; I think they would benefit in being shot a bit lower, like wait level…
… but OK hand metering, range-finding (or pre-focusing or hyper focusing) and view finding are already a lot of actions for a single shot.
With the 21mm the subject is often too far as above, unless you come really close to unsuspected subject …
… for everybody’s fun.
Or willing models as above.
Or you meet the Fuji Instax team (I did not enter the discussion about Fuji vs Kodak with them).
I also had the opportunity to take a few shots at night in a fancy fair and I must say the result is quite pleasant. A bit Saturated, but it looks the film reacted well to artificial light.
Interesting story here, aspirant photographer and aspiring make up artists from Indonesia using their friend as a model.
A few weeks after the first shot back at the SMU (Singapore Management University).
In case you directly jumped here: all shots on Kodak Ultramax 400 (not expired), with Voigtlander 21mm F4, VC viewfinder 21-25mm on Leica M4.
You can read more about the Fire Walking Ceremony in my post from 2014 (here). In short it is a Indian festival honoring the Hindu goddess Sri Draupadi, who is the wife of the five Pandava brothers who walked on hot coals to prove her purity.
Devotees go through a purification period and on the day of the festival they walk from Little India where they get blessing and protective amulets to the SRI MARIAMMAN TEMPLE in Chinatown where they walk through the coals of the fire pit. After this they go at the back of the temple where they discard they protection and offer to the god the beads necklace they wear since the beginning of the cleansing period.
This is the 3rd time I am going to the festival. As I mentioned in my last post, total respect to the devotees. I went in the evening as usual with my friend Matte Lim.
This is my second or third roll of this film. The first attempt was so so. This is supposedly a new film, replacing the old TMZ 3200 discontinued in 2012. I think the film works well for scenes with good contrast and some lighted parts ; if your scene is grayish you wont get much on the picture.
It was night when I attend the fire-walk festival but both places where I was had some heavy lights on parts of the scene.
The M6 is great for focusing in the night, even with my ageing eyes, also the metering is quite ok.
Most shots are done with 50mm Cron (v 5), maybe some with the 35mm Cron (Asph v2), as I swapped the lens between teh M6 and M262 at some point.
Processing was done by the usual lab and scanning at home with the Epson v800 , scanning is easy.
I like the grain, which is quite limited and pleasant imo (but my wife does not).
A few weeks back I was in Riceball Photography shop where our friend Leon tempted me with the new Voigtlander 21mmF3.5. This is a beautiful lens, particularly with the metal hood attached. I had a try on my M262 in the corridor of the mall (below) and also a week later on the M6 (above).
I was very enthusiast about the test shots, very sharp, no distortion to my eyes, no color shift on the digital sensor, unlike the test I did of the old Super Angulon F4 a couple weeks before (see below).
At a price of about 800USD, even when adding the hood (100USD) and the finder (200 USD for 21-25 metal finder), this is a steal for a bout a third of the price of the next Leica lens.
At this point I came back to my senses and remembered that I bought a 21mmF4 Color Skopar back in 2013, to fit the Leica IIIc. This lens did not get a lot of love for the following reasons : the plastic finder is shait and was replaced once and repaired twice, the color banding on the digital bodies is awful, more subjectively I have a bit of difficulty with the 21mm : I always end up with skewed perspectives that I don’t like very much and also, yes, 21mm is very wide.
So the reasoning was that, as I have a 21mm already, why not try to address the finder issue first and if I still don’t love the 21mm then there is no point getting a new one. Of course that does not address the digital issue, but everything in its own time.
So lets hunt for a 21mm finder. There is a bit of choice on the market : the plastic VC, the metal 21-25 VC, the old Leica in plastic or metal version, the Leica Universal Wide Finder. Ken Rockwell vouches for the plastic version of the Leica, but I ended up with the VC metal version that Riceball provided me in two weeks.
The VC metal finder is a nice piece of kit. It feels very good in the hand, (it better for about 200 USD), fits the cameras (IIIc, M6 and M262) and provide a nice view. I immediately tried it on the digital body and on two rolls of film. and I must say I am pleased with the results.
So now what about the 21mm? Well I will probably have to shoot more before I decide, but already I think going back to my VC 21F4 by buying a new finder was a smart move : shall I love the 21mm and get the new lens, I already have a finder, shall I want to sell it I have a full kit now, or maybe I can just stick with the 21F4 for a while.
The 21 is very (very very) wide, the three street shots in this page were taken at about 2 to 3 meters from the subjects and they feel like I was miles away, so I will really need to step very close for my candid shots.
I generally shoot 28, 35 and 50 Summicrons, so I must say that F4 is not mindblowing, but this is minor. On another hand the 21F4 is very tiny and pleasant to use, so I feel very comfortable when walking around that I look inconspicuous.
On a final note about the color shifting on digital bodies, some of the Leica profiles help correct it, I think one the 28mm F2.8 profile provides better results that others, have try.
Film color shots done on Kodak Portra 160NC with Leica M6 Classic
B&W shots done on Kodak TriX with Leica M6 Classic
A follow up of the last post , I showed pictured made with the Hassie 500 CM on Cinestill 50D, but that was the Leica User Group Singapore outing after all, so I carried along a Leica M4 for film shots (here) and a M262 for Digital.
On the recommendation of fellow members of the group I brought my longer lenses, the 90mm Elmarit and a Canon Serenar 135mmF4 (the bad version). I did not use the Serenar on the M4, it is too unpredictable no use to throw away valuable shots.
It is easy to see here what shots are taken with the 90mm and whose with the 50mm.
Shooting with the 90mm is very unusual for me, specially on film. The Elmarit often comes with me on holidays but only for a couple of digital shots. The results are quite pleasing, it offers very different point of view.
The film is another roll of my bulk Ultrafine Extreme 400 hand-rolled. The processing from the lab was a bit below the usual quality, that’s life.
You see mostly men in these pictures, but there were many women as well, they just did not come on the frame at the right time.
Same day different camera in Warorot Market in Chiang Mai, the Leica M262 and the Summilux 50mmv2.
I do not have a lot to say since the last post of film pictures on the same subject, I think I still prefer the film shots. But the flexibility of the M262 in term of ISO is much appreciated. Can go high and low on demand, it looks so obvious, but not really for a film shooter.
It is also here that I realized the Summilux is seriously back focusing and that maybe I
should get a proper 50mm.
This family was rolling some kind of cigarettes.
Serious negotiation (above) about dry goods, looks like everybody was happy in the end.
The coffee shop around the corner, is quite busy and like all the upper section of the market has decent light.
This man is manually making some religious artifacts used as offerings in temples. Below one of the flower stalls doing offerings as well. There are many flower shops there, some are doing offerings some looks to be casual flower shops.
So this is it 3 years after borrowing a M9, 2 years after renting a M240 and deciding it was not for me and I better buy a M6 (Which I did), I just turned 50 and offered myself a beautiful M262 and a Summicron 28mmF2.
On the first day I went out to the Kong Siak road festival and managed to catch the following shots with the Summilux 50mm VII.
A more elaborated review will follow shortly, but it was time to share those.